THE CATEGORY
CABINET

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.

The hosts cite Cruise's insistence on doing risky practical stunt work as the clearest example of this award.

They decide Patchett’s business of tailoring sex workers to resemble movie stars is morally awful but also a clever scheme in movie terms.

The hosts identify the train-sequence blackface as the clearest aged-worst issue.

Downey’s houseboat work is named the best acting in the movie, with Clea DuVall mentioned as another strong heat-check performance.

They give the bystander-death award to the motorists involved in the highway pileup, noting the film minimizes the injury fallout.

They note the dark backstory example, but they do not fully convert it into a finalized recurring category here.

They kick around examples of characters indulging a hobby in strange circumstances, but no final pick is made.

They describe it as a prize for overblown film-school interpretation, but leave it as a concept.

They explicitly say they are not giving this one out because the movie is too good to pause.

They propose it for a character who quietly sucks more than the movie admits, but do not name a final winner.

The hosts mostly reject the premise and do not settle on a clear character who secretly sucks.

Van argues that Egon is the film's sneaky weakest character, though the others mostly push back.

They discuss the long-running category for actors who should have become bigger stars, without naming a single winner here.

The room settles on Talia Shire's heightened performance as the clearest example of the category, while also acknowledging James Caan's big acting choice nearby.