THE CATEGORY
CABINET

They question whether bringing Mahoney’s traumatized former agent back onto the protective detail made any sense.

They mostly focus on Raymond as a shaky internal affairs cop, while briefly entertaining that his wife may actually be competent at her job.

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.

Tubbs’ intense brother-death confrontation and interrogation scenes are held up as the episode’s most over-the-top delivery.

For the category about overdoing it or bad acting, the slot-machine scam guy is the clearest punchline choice.

The room spends a long stretch arguing for a queer reading of Axel's relationships, but they never treat it as a settled factual verdict within the category itself.

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

They agree that Beverly Hills Cop 2 is the better movie, even if the original means more to them historically.

The panel agrees that putting Jessup on the stand was an enormous and risky bluff.

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 group jokes about Bill asking sexualized questions about the war boys and Immortan Joe, but no winner is chosen.

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.

Biehn’s career is the main flex choice, with a spin-off case made for Vasquez.

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

They debate how a modern remake would have to change its cast and dynamics, but no single version is settled on.

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 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 discuss Herb Brooks keeping OC on the roster as the key decision that helped the team and the movie.

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 focus on the emotional character thread, especially Raul and Emilio, as the thing that still works best now.

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

The hosts open the awards rundown with Ted Knight's signature 'Well, we're waiting' moment.

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