I've seen a lot of musicals, but there are a whole bunch of 1950's musicals I've never seen and wish I could rewind back to the heyday of big, gorgeous movie theaters to see them—"The Pajama Game" "Kiss Me Kate" "Brigadoon" "Seven Brides for Seven Brothers" (only seen the big barn-raising scene), "Kismet" "The Pirate"…

Flash-forward 34 years: at Trump's inauguration, in the front row, and old Russian couple now in their 70's look at each other Very Significantly….

That underlined for me that Philip wasn't thinking rationally—he's wracked with guilt about the Pascha situation, and he's determined to keep his kids close, even if it means torpedoing Henry's future opportunities.

This is true—Philip and Elizabeth have QUITE the body count on their hands, and their combination of self-righteousness and soft-heartedness regarding the Russian kid seemed grotesquely hypocritical. Then I started fitting all the different pieces of the episode together, and went, "Oh, this is an episode about what…

I've been raving about Russell for years, and her dialogue bits were as usual outstanding; however, it was the wordless scenes where she stares at the shoes and clothes in her closet and around her kitchen, registering her distress that she's become more bourgeois than she ever realized, that really slammed it home.

And the ol' red and and bluuuuueeeee…. (Da da da da da da da da da da piano slide…)

And Karen Austin was not only gorgeous and funny, but could drunkenly sing "The Man I Love" at very high decibels mostly in tune striding throughout the entire courthouse.

Ah, but Selma Diamond: "We had some wine, killed some crustaceans, and a man played military music."

The Michael J Fox one definitely tipped into broad sentimentality, as if one hug from Harry could reform a tough kid. (It'd take at least 2-3 hugs.)

That was a really sweet one, beautifully played by the guest actor. And there was another good one where Dan—virulently homophobic—gets stuck in an elevator with a gay guy who thought they shared a "connection"; by the time they finally get the elevator open, Dan's asleep with his head on the guy's shoulder. (Was…

Listen to Mel sing "What Is There To Say." You'll understand.

Yeah, there was another movie or play or TV show a few years later, and I remember a guy asking another guy at a piano, "Would you play me that 'Ordinary People' song?" And you knew exactly what he meant.

Yes, but Ebert thought "Crash" was a great movie, and compared it to Dickens. He also disliked at least three movies I love: "Blue Velvet" "Return to Oz" and "Harold and Maude." He was allowed to make mistakes based on biases and personal tastes.

EEEEEEKKKK!! Don't remind me, I've been trying to remember to get to "Gloria" for almost 40 years now!! Embarrassing.

Today, people still might vote "Ordinary People" for Picture, but Martin Scorsese would probably win Best Director.

"Laugh, my dear. Laugh for Chuckles!" And—of course—Mary bursts into tears.

The TV movie "A Long Way Home" is one of the few things that really allowed Hutton to approach the level he hit in "Ordinary People." The final scenes with Hutton and Paul Regina finding their adult sister are sucker-punch sob-worthy.

There was that one glorious moment in the fairly limp "Mary and Rhoda" TV movie where Moore is in a job interview, and starts trying to sling the bull about her youth playing field hockey: "Oh, yes—high stick Mary, that's what they called me." Interviewer, not even looking up from her resume. "Really. What did they…

YES!! Oh my heavens, if you've never seen it, it's a convent of nuns on trampolines, to get higher/closer to God. The rest of the movie is similarly wacky (the Devil's magic words: "Julie Andrews"). Dudley Moore and Peter Cook (and Raquel Welch as Lust) play to the rear balcony, but damned if it's not a hoot and a…

She's lucky she wasn't there when a Lars Von Trier movie was competing.