THE CATEGORY
CABINET

They argued Chance makes reckless choices that undercut the idea that he is a great undercover cop.

They doubt that Terry’s newspaper piece really proves she is a good journalist.

They conclude that Jerry's handling of Rod Tidwell's contract and the rest of his business makes him a legitimate candidate for the 'bad at his job' award.

They award Tone Trump for convincingly playing a provocative version of himself in the Philly scene.

They name Dr. Patel as the character whose professionalism is most questionable, though the police officer also gets discussed as a strong alternative.

They question whether Viola Davis's character really handled the situation well, given the risky decision to release Hathaway.

They mostly agree the best part is Patty repeatedly outthinking Drake and standing up to Carter.

They landed on the score as the most enduring element, with Ledger's performance also singled out.

They pick the adult, restrained reactions to the affair as the movie's best stage because the characters behave more maturely than in a modern version.

They admire the inventive scene where the romance is crosscut with game commentary and the police song.

The discussion focused on Miss Perkins as the standout 'stage' of the movie, with the Continental also getting praise.

They agree the college-town microcosm is the movie’s best setting, with Bloomington and the quarry both getting praise.

They choose Poltergeist as the strongest name for a racehorse.

They pick El Jefe as the best racehorse-style name from the film.

Several names are floated, but Just One Fuck is the one they land on as the best racehorse name.

The hosts toss out several song-title possibilities, but "Blame It On the Boogie" gets the strongest response as a racehorse name.

They think John Tuld is the best racehorse name, though Margin Call itself also sounds derby-worthy.

Given three horse-name options, they choose the simple single-name 'Tango' as the best bet.

They choose the Benadryl-through-a-straw gag as the movie’s best food-or-drink bit.

They settled on the coffee-sugar moment as the standout food or drink beat.

The train snack scene with the banana and puddings was the clear favorite food beat.

They settle on the croque monsieur as the movie's best food moment.

The 1991 Palmer bottle used in the setup and deposition is chosen as the standout food-or-drink prop.

They land on White's hot-dog humiliation as the strongest food gag.

The biggest nitpick was how implausibly long the kids evade arrest in Corpus Christi.

They ran through several nitpicks, including body odor logistics, the missing bartender address, and Jesse's terrible pinball game.

They complain about showing violent crime movies to juvie residents and also question why the cells are left unsecured.

They nitpick how implausibly fast Miles drinks after the bad news, while also raising other small logic issues.

They spend this segment nitpicking the room, the trip timing, the burned car, and other continuity issues.

The conversation turns into a broad set of nitpicks about the legal and procedural absurdities in the plot.

They nitpick a few plausibility issues, especially the timeline explanations, the Avery meeting setup, and the anachronistic pasta order.

They question the logistics of Terry’s school switch and nitpick details like the boyfriend and the Hemingway poster.

They mostly focused on small realism issues, especially Ennis never using the fishing gear and the baby casting ages.

They raised continuity and logic complaints about Vanessa’s reveal, the swallow joke, and the two-Austins ending, but did not resolve the category.

They pile up several nitpicks, but the child traveling alone and handling the logistics is the biggest recurring issue.

They mostly shrug off the nitpicks, though they mention how hard it is to accept Eli not aging much and how Daniel crawled back from the well.

They imagine Jim being dumped and publicly exposed after the events of the film.

They sketch out comic after-stories for the characters, mostly involving finance, rehab, or television.

They speculate about how the night after the Empire State Building reunion might have gone, but no firm answer is agreed on.

They joke that Gabe probably skims money and uses it to open a mountain-climber gym.

They joke that Wes Bentley’s character would almost certainly confront Julia about Ethan immediately afterward.

They sketch an alternate-future version where Steve and Linda stay together and the other couples go their separate ways.

They focus on the Budweiser-heavy bar and apartment drink visuals as the movie’s best food-and-drink detail.

They explicitly land on the giant buffet lunch as the movie’s best food/drink moment.

The $1,000 bottle of wine is the clear favorite in the food-and-drink category.

They joke about the dinner/breakfast scene but don’t settle on a clear winner, and the question of Kane’s last bite stays unresolved.

They settle on the grilled cheese as the standout food moment, with the liquor bottle also mentioned.

They agreed that Magoo’s fruit-and-salt bit was the best food or drink use because it functions as a plot device and a character detail.

They added Peter Schrager to the running gag and treated him as the new favorite answer.

Bill picks Philip Baker Hall for Rutherford while Chris enjoys the imagined Wayne Jenkins version of Guido.

They brainstorm alternate casting and land most strongly on J.T. Walsh as the best fit among the options.

They mostly riff on Wayne Jenkins in the prison setup, though Bernthal as the hacker is the standout alternate cast idea.

They riff on a Wayne Jenkins-style version of the scene-stealing roles rather than making a formal pick.

They treat the question as answered by the existing JT Walsh cameo, while noting Philip Baker Hall as an inspired alternate for Farnsworth.

Grandma's brothel is chosen as the most memorable location, though the Taj is also strongly cited.

They decide the battleship and open water are the scene-stealing location of the movie.

The speed-dating restaurant is picked as the standout location because of its loud, smoky, energetic New York feel.

They agree that empty New York is the movie's standout location, with empty Times Square singled out as especially memorable.

The hotel bar is singled out as the most memorable location, with the diner and apartment also mentioned.

The converted warehouse grow-house is picked as the film’s best location.

The shoehorned basketball sequence is treated as an unnecessary showcase for Wahlberg.

They decide the movie should have ended with an intramural football game to decide whether the Deltas could stay in school.

They say a recess sports scene would have been welcome and fun rather than unnecessary.

They speculated about whether the movie needed a fake sports angle, but did not settle on a clear winner or even a clear example.

They treated the movie's extra boxing material as the random sports scene that fits the category.

They joke that the movie does not need a random sports scene and that the existing runtime is already tight.

The room jokes that Rowdy’s idea to let his wife design the house suggests he may not be especially competent at the job.

They award both job-performance categories to Meredith, arguing the movie shows her as a ruthless operator rather than a competent executive.

They settle on Billy Sparks, mostly because he has Prince’s moment in front of him and still seems unsure about the band.

The hosts agree that Wade Garrett is the answer, even while joking about his fighting style.

They joke that Bruce seems dubious at his job because Josh ends up hating chess and Bruce keeps mishandling the family.

They argue Carl fails to catch Frank for years and is not especially effective at the job.

They choose the overhead casino-room shot as the most cinematic image, while also praising the staircase composition and a cracked-door party shot.

The hosts awarded the great-shot category to William Reynolds’ editing choices that soften and stylize the film.

They choose the unsettling wide-angle apartment staging as the best visual moment, while noting the final stairway shootout as another strong candidate.

They settle on Greg's slow-motion fake-cat reveal as the best shot.

They single out the overhead view of Teddy's tattoos as the memorable great shot.

CR gives his pick to the slow-motion wake-up dissolve to Kane’s face.

Howard Payne ranked very highly, though his lack of physical menace kept him below Hans Gruber.

Ed Norton’s detached villain is placed in the middle of the scale at roughly five or six.

They rank Peyton as an 11-level villain, just below Hans Gruber.

They ultimately give the edge to Dean Wormer for being the more devastating authority figure.

They argue Jerry is the most despicable person because he has family to care about and still does the evil thing.

They rank Sean Young's villain turn in the lower-middle range of the scale, with no debate over who the villain is.

They pile up plot and logic complaints, especially about nobody intervening while Nikki spirals.

The hosts raise a series of logic and continuity issues without resolving them into a single winner.

They raise several plot and logic complaints, but none becomes a clear single nit.

They rattle off several nitpicks, especially Leo’s immaculate beard and some plot logistics, without choosing one clear nit.

They revisit the kidnapping plot as the main logic problem, especially Mary's unexplained behavior around Harry.

They raise several continuity and logic issues, including the car accident follow, the scrapbook, the search party, and the bedpan logistics, without a single winner.

The rare lamb chops were named the best food or drink use in the film.

They award the whole food scene, while singling out the gravy as the item that looked best.

They praised the heavy Midwestern meals shown early in the movie.

They choose the super hot peppers scene as the movie's best food-and-drink use, with the laxative tea noted as another contender.

They choose Tony's burger as the clearest food-and-drink moment, calling it the classic post-release meal beat.

They choose the chili dog as the standout food moment in the movie.

Mount Maryland is selected as the episode's prime lunar real-estate opportunity.

They agree the Rock Harbor house is the standout property, though the Sleeping with the Enemy house gets a shoutout.

They settled on Chance’s Malibu house as the best property in the film.

They pick the custom-built Addison, Vermont lake house as the movie's standout piece of real estate.

The hosts all agree the main house is the best piece of real estate in the movie.

They say the title works especially well because it pays off late in the movie.

They briefly consider the shorter version but keep the released title as the better one.

They briefly agree that the film’s title is the best title among the options.

They unanimously treat Alien as one of the great movie titles and dismiss the original Star Beast title.

When they ask about the title, they treat Saving Private Ryan as the obvious answer.

They landed on the Moko Coco coffee as the most memorable food-or-drink item in the movie.

They picked the fake gin as the best food-and-drink use, with the blue plate special discussed as a runner-up.

They agree the end-of-movie barbecue is the standout food moment.

They pick the cooked bear meat, while also giving a nod to the ham sandwich at the beginning.

They chose Reed’s margaritas over the donut-shop food as the movie’s best food-and-drink moment.

Joanna picks the burrito reaction as the funniest food-and-drink moment in the movie and the others agree.

They explicitly pick the liver and whiskey shake as the movie's best food-and-drink gag.

They agree the palm wine is the standout food-and-drink element because it works as both a drink and a practical tool.

The hosts call the meat-bone neck stab the clear winner for best use of food and drink.

Bill lands on Booger in the green beans as the standout food-and-drink moment, with the spinach abuse as a runner-up.

The redhead Serena is named the clear Dan Waiters pick because she has the movie-star juice and feels tailor-made for the category.

They landed on Lonigan’s henchmen because the no-lines presence still stands out.

They explicitly give the Dan Waiters Award to Linda Fiorentino from a very deep supporting lineup.

They choose the diner chef as the movie’s best waiter-type presence.

They treat Chris Cooper as the easy choice for the category.

They agree Richard Gere’s Dennis Peck could blow up basically every relationship in the movie.

They pick Otter's Dennis Peck-style move with Flanders's girlfriend as the flex answer.

Craig uses the flex slot to argue that Sal Amato’s nightclub scene is a Bam Adebayo-style surprise flex performance.

They give the flex to Pacino for smoking so hard on screen that it becomes part of the performance.

The hosts treat Harrison Ford's entrance as the moment the movie kicks up a notch, with the topless vacuuming discussed as a near miss.

The absence of O.J. references felt especially tied to the movie being shot before the scandal.

They explicitly land on isotone gloves as the most 1994 detail, while also citing the Dolphins' Super Bowl run as a close period-specific marker.

Bill floated the billing quirk, but the room landed on 1994-era Scorsese as the defining 1994 element.

The hosts single out the local TV sports guy as the most 1994 artifact, with VHS coaching tapes as another strong throwback.

The panel settles on the mention of Sally Jesse Raphael as the most dated 1994-specific element.

They pick the borrowed camera bought at Circuit City and returned for a refund as the most 1999 detail.

They settle on the movie’s analog-era details—especially VHS tapes and landlines—as the most 1999 element.

They agreed that the movie’s most 1999 element was American Online, with Jerry Springer also discussed as a strong time-capsule detail.

The hosts land on the movie’s Hooters-related material as the most frozen-in-1999 element, with the gay-friends bit mentioned as another contender.

The hosts call the Cruise-Kidman marriage the most 1999-specific element because it defined celebrity culture in that decade.

Rob argues the Chicago setting should have included the Smashing Pumpkins, and the others debate alternative cameos and soundtrack choices.

They raise a few nitpicks, including the two-week Wally World closure and the logistics of the ending, but do not settle on one winner.

They spend the section on logic gaps, especially Tony's demo trip and a few implausible convenience points.

They focus their nitpicks on the implausibility of the car-accident logistics and Fletcher sabotaging the live performance.

They raised several continuity and plausibility issues, mostly about the kidnapping plan, hospital recovery, and character behavior.

The discussion turns into a debate over whether Sean is actually a competent therapist and whether Lambeau is a strong professor, without a clean consensus.

After debating Vincent, the Wolf, Marcellus, and Brett, they decided Zed is the bigger professional failure because he blows his one job as the rapist-captor.

They question whether Krill is really competent and also wonder if Ryback is actually a good cook.

Tony Goldwyn’s chief of staff was treated as the clearest bad-at-his-job choice, though Gray Grantham was also debated.

They question whether the sous chef was actually competent, with Bobby Cannavale's character drawing the most skepticism.

They agreed Rick is the best one-night hang because he can deliver the wildest night out.

They land on Carl as the most entertaining person to spend time with, while Norm is the default alternative.

Brolin's Graver is treated as the most fun person to drink with, though Alejandro also gets a nod.

Zach chooses Roger Podacter as the most appealing person to grab drinks with after work.

Howard’s gold-watch line received the special best-line-reading award.

CR highlights Keaton's delivery when first meeting Modine as the best line reading.

They agree the Social Network example is an all-timer and note the category would reward a line delivered with a very specific emotional texture.

They spend time laughing at Arnold’s bizarre delivery, especially the line about Sub-Zero becoming 'plain zero.'

They choose the aftermath of Joey Trotta's death and Sean Astin's crying scene as the one clear pee-break spot.

They suggest the scenes involving Hathaway and his sister/Leanne, especially the sex scenes, as the best time to step away.

They recommend the stretch right after the opening setup and before the case really gets going.

They choose the post-car-fire, pre-snow-outside stretch as the least risky moment to step away.

The coffee the sheriff’s daughter makes for everyone is chosen as the movie’s best food-or-drink moment.

They pick the basement bar vodka-schnapps-creme de menthe drink over the sandwich-spitting gag.

The breakfast scene is treated as the standout food-and-drink bit, with the Milky Way also mentioned.

The award goes to the toothpaste as the standout food-or-drink-related item.

Sean jokes that he probably would not survive long and lands on the tunnel sequence as the likeliest point of failure.

CR said he would not have lasted long, citing the freezing conditions and the creek fall as fatal for him.

The hosts only joke about various likely death points without choosing one answerable winner.

They discuss it as a scenario-based category for when an ordinary person would have died in the movie world, but do not settle on a winner.

They named Reggie Jackson the clear winner for essentially playing a version of himself in the baseball finale.

Among the real-life sports and media figures in the film, Aikman is the name that gets the strongest support as the clearest 'playing yourself' pick.

Johnny Chan is named as the clear example of a real person playing himself in the film.

They call out the Bush footage as the clear example of public figures just appearing as themselves.

They discuss locations but do not land on a clear scene-stealing location winner.

The Andes are picked as the scene-stealing location even though the movie was filmed elsewhere.

They decide there is no obvious scene-stealing location because the movie is mostly generic road-trip and motel spaces.

They picked Hot Tracks as the movie’s best scene-stealing location, with Jack’s house also in the mix.

Buffalo Bill's basement lair was selected as the scene-stealing location.

They settle on the Aspen hotel and outdoor setting as the scene-stealing location element, especially the warm, snowy luxury of the stretch.

The river itself is chosen as the movie’s best scene-stealing location.

They lean toward Java Stop as the movie’s scene-stealing location because it anchors the characters’ lives.

They choose the 18th-hole water hazard sequence over Jacko's strip-joint pick.

They pick the arena setting from the random 1993 Sixers-Magic game as the scene-stealing location.

They picked the riverwalk assassination as the standout New Orleans location scene.

They settle on South Beach for capturing the movie's most scene-stealing setting.

They think the miscarriage subplot and the clunky final aftermath have aged very poorly.

The hosts say the biggest aged-worst issue is that the sequel came too late and lazily repeats the first movie's Roxanne business, even as the plot remains a mess.

They treat the immediate post-release box-office doom posting as the element that aged worst almost instantly.

They single out the youngest son as the most awkwardly functioning part of the movie.

Kyle does a deep-dive on the actor behind Huey Lewis and explains the porn-star background and later name changes.

The segment was a set of factual notes about 21, Barry/Enright, and related trivia rather than a winner-vs-runner-up category.

They cite the Phil Collins song anecdote as the oddest piece of background research tied to the film.

They note that Myers’s Stuart makeup took hours each day and also discuss the screenplay credit dispute and some location facts.

They say Election is probably Payne's hall-of-fame movie, though Sideways is close.

They choose Unforgiven as the movie that best represents Clint Eastwood’s Hall of Fame plaque case.

For Pac, they decide the defining plaque movie is Bishop in Juice rather than his other famous roles.

They say Kathy Bates would go into the Hall of Fame with Annie Wilkes as the plaque performance.

They argue the movie would be much better if it focused on Buscemi hunting Vaughn and reduced Danny's role as the villain.

They focus on Tim Matheson as the one who could have been a bigger movie star and likely Harrison Ford-type lead.

They frame the movie's ending and broader success as an example of a story where the characters simply get lucky and win.

On the central romantic question, they advise siding with Gage rather than David.

They decide the song should have been nominated, with Hagar’s ‘Winner Takes It All’ their preferred winner over the other 1988 best-song nominees.

They award the episode's Oscar to Richard Price for the screenplay and dialogue.

They say Eddie Murphy is the performance most worth Oscar consideration.

When the awards discussion turns to the 1980 Oscar race, they give the directing honor to Ridley in retrospect.

They floated Bradley Cooper as the best then-era replacement for Vince Vaughn, while also mentioning Dave Chappelle as an alternate idea.

They float modern recasts, settling most strongly on Sydney Sweeney for Maddie and Miles Teller for Ned.

They float several alternate casting ideas, but do not settle on a single replacement cast winner.

They imagine a younger star in the Charlie role and favor Leo, while noting Damon and Affleck as other possibilities.

Both hosts landed on Spielberg as the better fit for this movie.

They explicitly pick Scorsese as the better fit for this material.

They explicitly side with Scorsese and use the comparison to reinforce how much this movie feels like his handiwork.

They argued both sides, with Scorsese appealing for After Hours-style nighttime romance and Spielberg for the sentimentality.

They settle on the use of Cops in the Woogie scene as the most unmistakably 1998 element.

They point to the late-’90s soundtrack choices and the teacher-student storyline as the clearest time-capsule elements.

They treat the late-1990s Atlantic City boxing spectacle as the clearest time-stamped detail, with the huge flip phone and public defense-secretary attention also cited.

They agree the movie feels most 1998 through its soundtrack choices and late-'90s pop-culture touchstones.

The group agrees the film underuses Los Angeles’s Black cultural presence.

Van says the movie already has the correct amount of Black characters and doesn't need more.

They conclude the movie would benefit from more substantial Black characters, beyond the few supporting roles already present.

Van says the movie did not need more Black people in any of the workplace plotline, and the room accepts it.

They close by tossing out impossible-to-answer plot and logic questions about the kidnapping, the football game, and Einhorn's plan.

They identify the biggest open questions as Roy's fate after the ship leaves and the practical consequences for his family.

They discussed impossible questions about the Mariners-Angels game and how the queen-assassination finale would be handled afterward.

They pose hypotheticals about the sequel/prequel angles, Barney’s fate, the book, and alternate versions of the story without a single consensus choice.

They think Hoffman would have been a strong Remick, with a brief mention that he could also have played the Klan villain.

They imagine Philip Seymour Hoffman as an older version of Max Corkle.

They mostly place Hoffman in the Farrell role, while noting he could also fit some of the smaller eccentric parts.

They mostly landed on Hoffman as the poet, though they briefly considered him in Jesse's orbit as well.

They agree the Knicks-era Marbury cameo is the most time-stamped 2005 element.

They agree the movie is packed with early-2000s details like fax machines, dot-com talk, and pre-legalized betting culture.

Wesley said the key 2005 marker was how young the cast was and how the movie's controversy fit that moment.

They point to the landline-era details and the pre-smartphone lack of recorded police footage as the clearest 2005 markers.

They raise unresolved questions about the salon, the party aftermath, and what happens to George without settling them definitively.

They raise a few trivia-style questions but do not settle on a clear answerable-question winner.

They frame the film around unresolved questions of Fletcher’s true musical skill and whether abusive pressure creates greatness.