Well, you can tell Six from Blossom that he or she can just deal with it.

In French. In English there's no accent mark and it's "cash."

Don Cheadle on a bed of rice!

I wouldn't bat an eye at meeting someone named Seven. It's the only number that sounds like a name, and it has all kinds of "significance" what with the seven colors of the rainbow, the seven deadly sins, and all that. (Fun fact: There are six colors of the rainbow. Isaac Newton really wanted it to be seven because he…

"Hello, Elaine. Did you have any trouble finding the place?"

"Hey 2 Broke Girls: This is how you reference a bunch of bands on a TV show without totally falling on your face."

Donna and Rose DID say the same thing — twice in Rose's case. Nine trapped her at home to avoid the Daleks, and even after she looked into the TARDIS and saved his ass, he still tried to do the same thing at the end of the next series. And he chose to wipe Donna's memory and send her back to her old life when she…

What I liked about it was that at the end, when Rose asks Sarah Jane whether she should stay with him, instead of a Disney Channel "well, now you know what you're risking and you have to choose what's best for you" answer, she just says, "Yes." It's like, come on, don't act like you don't know what you would do.

You guys, what if Hugh Hefner never dies?

"Wild? I was absolutely livid!"

I'm pretty sure the obsessive Rose fans are mainly people who weren't familiar with the show until its revival, aren't fluent in the "companions come and go" mindset, and still think of Rose as part of an "original" cast that's since been replaced. Or if they do know the original series, they think of New Who as…

The Valeyard?

I think that's the problem, actually, and that it's also what was wrong with "Night Terrors": it's a straightforward plot with really only one "a-ha" moment to it, but played up in full Moffat-era style like there's so much story and so little time, and in the end… not so much.

I think The Brute Man would be my choice for non-obvious favorite. Something about it just gets me. It's such a straightforward use of an extremely cliched concept. "What's he done?" "He has crept!" And there's the whole scene with the angry old shopkeeper who cracks Mike up.

The end credits alone. It's one of those things that get stuck in my head sometimes and I'm always worried that I'm going to start singing it in front of someone and get strange looks. Also in that category are several "one song to the tune of another"s from I'm Sorry I Haven't a Clue and a really catchy little…

Captain Spaulding!

If I had parents, I'd accuse them right now!

The '50s shorts that instruct people on how to stand, speak, dress, wash themselves, eat supper and get married really are a window on a creepier, nosier time in our nation's history. "The Home Economics Story" is about going to college to learn how to become a housewife, FFS.

I CAN'T STRESS "UNEMOTIONAL" ENOUGH.

Go in peace to love and serve Union Pacific.