There was also "Nominated for Best Foreign Film is Eat Drink Man Woman. That's also how Arnold asked Maria on their first date."

It would be interesting to hear how Sayles picked him to play Eddie Collins, the straight-arrow, college-educated killjoy. Irwin's good, but there's none of the whimsy or humor that's usually associated with him and his roles.

On the PBS Pioneers of Television series, one of the younger St. Elsewhere actors talked about how Lloyd would casually mention playing tennis "at Charlie's" back in the day. It eventually dawned on them that he was referring to Chaplin.

He uses her lyrics and gave her a writing credit, which certainly didn't happen for Manfred Mann. in his Storytellers episode he jokingly questions if his version would have hit Number One had he thought of replacing "Cut loose like a Deuce" with "Wrapped up like a douche."

Mister Wendal?

Temptation is tough. I think they largely took it out of the rotation because walking away with the sub-prizes was often the better play.

I was about five when this happened and still remember what a big deal it was. An hour-long game show was unheard of, and that necessitated the introduction of the big wheel.

You could actually do a "Block and Tackle" tie-in, because the feeling you get when you're waiting for the mountain climber to stop is the same as when a punt goes out of bounds and the official starts walking it up the field to place the ball where it crossed the sideline.

I love the scenes where Tony has gotten Angie Bonponsiero to do the body work on Phil's car. You see him walk into the shop with a huge neck collar and you know he's not going to be satisfied. He and his lackey make up a bunch of vague problems having nothing to do with the original damage.

Not my favorite, but Chase throws a little joke in at the end of "In Camelot." During the episode, Johnny Boy's mistress talks about being a party with JFK and Jackie Gleason. "Melancholy Serenade," a piece that Gleason wrote and used as his show's theme is used for the end credits.

"You're going have to take AJ around and find a tennis camp for Meadow. Because if I have to do those things, Tony….I just might commit suicide."

Me too, but I would have driven my companions crazy by singing this song the entire time.

Shauna was willing to credit journalistic rivals who scooped her, like when Ben's Ice Town history was exposed on the radio: "Come on, Leslie. The Douche blew the story wide open."

I agree completely. Great care was taken to write and cast the antagonist roles as more than heavies. I'd include the late James Rebhorn's expert witness as well.

"Come sundown, there's gonna be two things true that ain't true now. One is that the United States Department of Justice is goin' to know what…is goin' on around here. And the other's I'm gonna have somebody's ass in my briefcase."

In addition to Newman and Mason, there were great performances from Jack Warden, Charlotte Rampling and Milo O'Shea as the judge. Of course the courtroom stuff is a highlight, but my favorite scene is in chambers as O'Shea tries to concern-troll Newman into taking Mason's settlement offer so Newman can get some money…

You're probably right, though I don't know exactly what's being said when they're speaking in Irish, it was more of an appeal to reason than a religious directive.

It's tough today to look beyond the physicality of those scenes, but the themes are progressive for the time. If it were Grease, Wayne's character would be the one who emerges at the end with the leather pants and teased hair.

That's right, tossing the money in the fire shows that it's not greed. Her "fortune" is the only thing that's hers in a patriarchal society where she needs her brutish brother's permission to marry. When the brother finds out that he was duped into consenting to the marriage, he refuses to hand her stuff over.

The film's Best Picture chances were probably hurt because it was made by lowly Republic Pictures rather than one of the big studios. It had been a pet project of Ford's for more than a decade, but execs were scared off by the Technicolor, location cost, and atypical Wayne part.