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The hosts reminisce about old 900 and 976 phone lines, especially calling for sports updates.

The long, sexually explicit Bob Seger montage is identified as the most awkward scene to interrupt.

They treat the naked fight as the most instantly mortifying scene for an accidental viewer, with the Pamela tape sequence as another candidate.

The room settles on the mother-daughter confrontation as the movie's most intense and dysfunctional scene.

They choose the Fenway heist in The Town over the other nominee scenes and real-life comeback.

They mock the movie’s obvious imitation of better mob films like Goodfellas and The Godfather.

They agree some stunt casting briefly takes you out of a movie, with Lena Dunham in Once Upon a Time in Hollywood as the clearest example.

After comparing several era-specific details, they settle on Pepsi Free as the most mid-'80s element in the film.

They criticize the ending premise as an offensive rom-com cliche but do not name a clear winner for the category.

They conclude that Moneyball is the most rewatchable sports movie and effectively their final verdict on the film.

When asked again, they keep landing on the catch sequence as the top rewatchable moment.

The hosts unanimously choose the Juarez border-crossing run as the movie's most rewatchable stretch.

They call movie gangster names the apex and point to this film as the peak example.

They discuss anniversary theatrical re-releases as a worthwhile experience but do not turn it into a winner-based category.

They run through historical notes like the Dawson name, the Californian, the band, and Cameron’s dives, but do not settle on a single winner.

They compare cinematic versions of heaven and ultimately prefer The End Is Near as the best one discussed.

They rattle off film references in the movie, but no winner or ranked choice is established.

When they try to name the best example of this situation, Old School is the clearest answer offered.

They agree it is a good theme-month idea where another host chooses the movie, but no winner applies.

The hosts complain that Bernstein’s score feels mismatched to the film’s tone.

The room’s main nitpick is that the NSA trying to recruit Will feels implausible and tonally out of place.

In the unwatchables discussion, they treat Gigli as the obvious low point and Catwoman as another major stinker.

They briefly consider a counterpart to Apex Mountain for a career low point, but do not settle on it.

They discuss how narration can help or hurt movies, but they never turn it into a scored category or pick a winner.

The hosts introduce the new Rick Dalton award for the Hill scene and treat both Michelle Williams and Casey Affleck as deserving the distinction.

They decide the famous When Harry Met Sally scene is the benchmark for New Year's Eve rom-com moments.

They compare famous movie apartments and settle on Ghost as the benchmark, while noting this film's apartment as a strong contender.

Bill says the Newt Rockne speech is overrated and picks a different football-movie speech as better.

They joke about the absurd Oscar count for Kirk Lazarus and also note that Four Leaf probably should have died.

They object to the phone-call countdown and the Florida office scene as the movie’s biggest contrivances.

They settle on it as the Coens' timeless masterpiece with multiple great stretches.

The speakers explicitly say they cannot do categories for this episode, so no Rewatchables awards are formally assigned.

They converge on a Proof of Life Caruso spinoff as the strongest character worth building a whole movie around.

The hosts agree this line has entered everyday language, even for people who have not seen the movie.

They call it a perfect movie-star hang and a great rewatch despite its placement on the list.

The hosts use this custom award for the moment the movie suddenly kicks up a notch after Loomis' line.

They call it a highly rewatchable comedy with a crucial Luke Wilson performance.

They describe a month of older broadcast-era movies, but no single winner is chosen.

They close the awards by naming Jeff Bridges the movie’s final winner.

In the organ-donation riff, Quint is the clearest no while Chuck Noland becomes the unexpectedly clean yes.

They discussed the Oscar nominees and landed on the White Nights song category, even while mocking the winner a bit.

They settle on the Anchorman flute scene as the clearest example of a moment to leave and come back without missing much.

They swap favorite Pacino quotes and identify the 'great ass' line as the standout.

They fold Bill Paxton’s Hudson into the broader Paxton conversation and treat that as the standout role.

They settle on the Almost Famous version of Jan Wenner as the peak example.

They treat the Dierdorf-Gifford pairing as the high point of the broadcast trio.

They say Regina King is not at her peak here, implying another performance is better.

They single out Wayne Fonts as the peak version of that character cameo.