My favorite is the "mechanical" Dudley that Snidely Whiplash programs to say, "Hello, Nell," "Yes, Inspector Fenwick," and a couple of lines from Kipling's poem "Tommy." Consequently, that poem still makes me laugh inappropriately.

Vicks?

Most notable thing about the "Starkweather homicide"—it rhymes with "children of thalidomide."

The "Nice Guy" is grossly misunderstood both by anti-Nice Guys ("you're all manipulative, lying, future date-rapists") and by the Nice Guys themselves ("girls just like assholes"). The cool thing about the audience-imposed Duckie ending is that Duckie gets to grow up and do the unselfish thing—encourage Andie to go…

Re: Groundhog Day—one trudges dispiritedly *up* to Punxsutawney from Pittsburgh, not down.

I think the problem is in thinking criticism is, can be, or should be, "objective." Critics have prejudices, likes, dislikes, peeves, idiosyncracies, and buttons that get pushed, and they proceed positively or negatively from there. If your buttons are similar, you'll probably agree; if not, not. The only "objective"…

My favorite bit of randomness from this show—Grimley's goldfish's voice is Short doing Montgomery Clift.

Aging some 50 years in the role was huge award-bait at the time (it can still be a pretty potent sign of Great Acting). Plus he had the "romantic leading man lets himself look ordinary" element in his favor (he had played The Count of Monte Cristo). And director Sam Wood served Donat well, taking his time with the…

Excellent point—fixed.

(Note: meant as a reply to Winnebago Man's comment downthread, but it didn't quite get there.)
The TV-like direction, in this case, was by Herbert Ross (who also helmed Pennies From Heaven). Ross as a choreographer probably relished the excuse, however flimsy, to throw in a dance number (the what-the-hell flimsiness of…

Randall once referred to Felix as "the ultimate Jewish mother," and I think that was a major element of the show's success—Randall embraced Felix's "feminine" side and ran with it during a period when conventional comic wisdom dictated that both Oscar and Felix had to be "guy's guys" in order for the premise to work.

Randall once referred to Felix as "the ultimate Jewish mother," and I think that was a major element of the show's success—Randall embraced Felix's "feminine" side and ran with it during a period when conventional comic wisdom dictated that both Oscar and Felix had to be "guy's guys" in order for the premise to work.

That's because Smaug was voiced by longtime old badass cowboy Richard Boone—an inspired casting choice among many inspired casting choices in that cartoon. 
Also, I'll always remember John Huston's Gandalf not-quite calling out Bilbo on using the Magic Ring: "Your story has the ring of truth, Bilbo; yes, it rings…

That's because Smaug was voiced by longtime old badass cowboy Richard Boone—an inspired casting choice among many inspired casting choices in that cartoon. 
Also, I'll always remember John Huston's Gandalf not-quite calling out Bilbo on using the Magic Ring: "Your story has the ring of truth, Bilbo; yes, it rings…

For me, the big Cosby Show moment happened in the pilot. It didn't get off to the best start—the writers were trying to bring to life one of Cosby's stand-up bits about how to breathe when you're in labor, and it was a bit forced—but about half-way in, we had the first big Cliff-Theo confrontation. Theo's grades were…

For me, the big Cosby Show moment happened in the pilot. It didn't get off to the best start—the writers were trying to bring to life one of Cosby's stand-up bits about how to breathe when you're in labor, and it was a bit forced—but about half-way in, we had the first big Cliff-Theo confrontation. Theo's grades were…

What the show lost for good when Frank Burns left was its element of satire—somebody referenced Catch-22 earlier, and it's a good comparison, especially in the case of Col. Flagg and the situations where Henry had to sift through and echo army double-talk. Burns, as a semi-satirical figure himself, was a good…

What the show lost for good when Frank Burns left was its element of satire—somebody referenced Catch-22 earlier, and it's a good comparison, especially in the case of Col. Flagg and the situations where Henry had to sift through and echo army double-talk. Burns, as a semi-satirical figure himself, was a good…