You have it right, it was mentioned in that episode as well when Sam and Rebecca acknowledge they're a lot a like (after spending overnight below the "lasers" of Robin's security system).

For some reason I remember the promos for Cheers for the Harry Conick jr. episode and the one with Harvey Fierstein.  They made a big deal about it in the promo but I (as a teenager at the time) really had no idea who they were.

That was this episode?  Is that where he sings the Bonanza theme song?  I remember how weird I thought that was when I caught that in re-runs years after Paul was already a staple.  He popped up there and then didn't return for at least 5 years.

They did bring back Boggs.

I thought Diane had mentioned that she was deliberately not taking her parents money when she moved to Boston so that she could truly be independent.  I think it's mentioned when Boggs shows up again in the Season 3 opener after SPOILER Diane returns to Boston after a stay at the funny farm.

I am going to steal your girlfriend!

ANTON!!

I dunno. For me the fundamental flaw of Cookie Monster's argument (I
can't believe I just typed that!) is what we actually see in the scene
itself suggest the exact opposite. There is no tension or anxiety in
Gandolfini's performance at all.  If the final scene represents some
sort of personal eternal hell for Tony…

I think it's everything Asuka says AND Tony dies (I don't see why they're mutually exclusive).  It just seems silly to ignore the logic of Tony's death.  It's all set up so clearly by Chase in the foreshadowing before the episode, the editing in the scene and how that connects to the black screen, and Chase's own…

"I won the shiny car!"

The guys tease her when Frasier tells them she sings.  She then sings a song for Frederick (her baby son) and all of the gang is moved and starts to cry and all talk about how they have to call their mothers.  Frasier then tells her how beautiful it was and asks why she doesn't sing to him like that, her reply:

Frasier: What these two geniuses at romance are trying to do is get you to let your hair down hoping it will stimulate me like some sort of Pavlovian dog.  So why just you entertain them so that we can get on with our lives.

I remember some nice Sam/Diane moments in that one but the underlying plot was absurd.  It made no sense that Diane's mother would wait to the very last day to set up Diane to be married.  She simply could have paid someone off long before to marry Diane and then get a quickie divorce.   Not to mention that Diane's…

Yes! a 10th season episode.  The best part was Sam's anger that the barmaid contest was no longer about looks.

I love when she is fully awake but sees a pipe left on Sam's desk.  She then thinks that maybe the dream was real and blows on the pipe…which of course blows bubbles!

Kerry appeared when the show started doing a lot of the cold opens in front of the real Cheers/Bull and Finch (the last couple of years of the show).

"DANCE MAILMAN!"

Totally agree here.  Diane can be just as shallow as the rest and the episode that stands out for me that illustrates this point is when some male patron leaves a really, expensive jacket in the bar. Diane believes the man who owns it must be of refined taste and class.  Then she speaks to him on the phone and she is…

Sometimes I come here and start to feel guilty for liking certain episodes.  I thought that episode was hysterical and really clever the way the gang thought Andy trying to strangle Diane was all part of the act.  I never thought of it as "sexualized violence against Diane."

Spoiler