THE CATEGORY
CABINET

Shaughnessy is the clear choice for a powerful character whose competence they openly question.

They debate Claire, Michael, and Solomon-adjacent concerns, but never pick one clear winner.

They extend the firing joke into a broader critique that the Death Star may simply be a terrible use of Imperial resources.

The beach scene was treated as the biggest overacting heat check in the movie.

They joked that Bear Claw's speech about women sounded more like a virgin than a gay read, but never settled it cleanly.

They speculated about steroid-era enhancement but did not settle on a firm answer.

They expand the job-performance idea by focusing on characters whose one specialized role is surprisingly weak or questionable.

In the flex-casting game, they mostly focus on Wayne Jenkins as a hilarious Ochoa replacement, with a couple of other off-the-wall suggestions.

The hosts agree this is a safe-scary movie you can comfortably watch with kids or a girlfriend's family-adjacent hang.

Craig proposes a Stephen A. Smith-style version of Rob’s confrontation with Ian/Ray as the best over-the-top bit.

Craig's flex category goes to Berenger's bizarre hair-pulling during sex, which the hosts treat as awkward rather than seductive.

For the hotel/location award, they give the edge to In the Line of Fire over this movie.

The hosts like the idea as a tweak-based recasting or editing prompt but do not settle on a winner because it is only a proposed category.

Bill and Chris invent a new Lisa Bonet character who would pull Axel into a longer side plot before being killed off by the villains.

They settle on the early-1980s Philadelphia setting and details as the film’s best-dated elements.

They close by stating the movie's lesson as a blunt endorsement of confidence over modesty.

Chris’s flex is that he had his own pack ready for the smoking-at-the-well scene.

They wondered aloud what Payman would do the next day, but did not settle on a single answer.

They imagine Alison and Ben splitting up, with Ben staying in Los Angeles and Allison doing something else entirely.

They argue modern phones would destroy the central misunderstandings and prevent the movie from working.

They pause to define haggis and joke that it sounds disgusting and unlikely to be a daily order item.

They settle on the movie's real estate and tenant-law mechanics as the most valuable thing it teaches.

The hosts settled on the old-school overture and intermission structure as the most 1972 thing.

They agree the most 1978 detail is kids being allowed to hang out in bars and openly smoke and drink.

They settle on the film's early-2000s fear of surveillance and control as the clearest period-specific marker.

They single out Lance Armstrong's heroic image as the most time-stamped 2004 element.

They treat the Pamela Anderson tape and the pre-smartphone, mid-2000s celebrity context as the clearest time-capsule detail, with the iPod mini gag as a close runner-up.

They speculate the film could rack up several nominations, but the exact haul remains unsettled.

They discuss how different movies land best at different ages, but do not choose one definitive age winner.

They discussed expanding the category to include Big Nick in future but did not settle on a movie where he makes things worse.

They jokingly award Tom Arnold a supporting-actor Oscar for his performance.

Cameron and the hosts agree Hoffman would have been Lester Bangs in Almost Famous, connecting back to the discussion of performance.

They mostly brainstorm possibilities, landing only loosely on Deputy Hendricks or one of the teen roles for a young PSH.

They close out the nitpicks stretch by noting that the movie’s cycling-world specifics and wardrobe details help sell it.

They praise the dense hidden jokes, the workplace parody, and the overall construction as what still works best.

They picked the henchmen, mainly because the movie presents them as elite operators but they move like comically unfit pursuers.

They treat the neighbor's nightly strip routine as the funniest example in the category.

They picked movies set on trains as the best version of the category, with the train setting getting the strongest enthusiasm.

They pick the Plaza Hotel as the standout setting in the movie.

They treat asthma wheezing as an effective vulnerability that gives the heroine a built-in Achilles heel.

They agree the evil-nanny movie is a fun, valid genre and should be allowed to exist.

They praise the obligatory horny friend character as a staple of this kind of movie.

The hosts treat the movie’s heavy product placement as the clearest aged-worst issue.

They agree the school-fire finale is the biggest thing that aged badly, with rectal thermometers also getting heavy mention.

They agree the end-credit flight graphics are the worst-looking part of the movie.

They pointed to Chuck being relentlessly hassled early in the film as the strongest example.

They settle on having a boat as the best-looking but most impractical thing in the movie world.

Van says the whole shower-curtain-ring salesman concept has aged the worst because that job no longer exists in that form.