I call it the Brady/Davey rule.

I don't have a problem with Redford the actor. It's Redford the director who bores.

Remember Tea Leoni?

The bit about how some people give up on following pop culture after a certain point? That was pretty harsh, bordering on out-of-character.

I still associate Aimee Mann with the '80s. Voices carry.

I realize Abed was busy this week but someone should have hung a lantern on the Rumored Guest Musician trope.

Ebert recorded only two DVD commentary tracks that I know of:  CITIZEN KANE, and DARK CITY. Check 'em out.

I took it as Holmes telling the truth about Watson' fabulous wardrobe (she's probably got a lot of white belts too), knowing he'd be misinterpreted to his advantage.

YOU BLEW MY
*

It didn't occur to me until just now that it could have been a Kato reference.

And holy hell, those black shorts.

You'd think they could have Rishi cook something up.

Complete coincidence, but I just happened to watch this episode last night. You can see it happening right there— the writers realizing who they've got working for them.

Oh, Alasdair.

Also, it's "I'm THE surgeon."

I can't hate Kilmer's delivery of "Chicks dig the car."

Also, there are restrictions on how long minors can work per day. It's cheaper for a TV series to hire legal adults who can pass for younger.

Some real-life accents are just bizarre. Especially the New England/Down East variations. It takes careful control of context (or 100% authenticity) to sell them onscreen.

Oh yes. "Can ya switch gears, 'cause I'm freakin' out over here." One of her best-ever lines.

I have a theory that Lorelai's romantic adventures always seemed to balloon out of proportion because Graham would demonstrate fantastic chemistry with someone and the runners would say "Wow, we've got lightning in a bottle here" and hurriedly try to build up the plotline.